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Tag Archives: Blu-Ray

Get Crazy!  Classic Lost Film By Rock & Roll High School Director Sparkles In New 2K-Transferred Kino Lorber Blu-ray With Soundtrack By Lou Reed, Sparks, Marshall Crenshaw, Adrian Belew, The Ramones & more


Mea culpa. Just last month I learned that one of my favorite “cult” films had finally been restored and issued on Blu-ray Disc back at the end of 2020… So I felt compelled to fill you in on it figuring that if I missed this new release, you might have missed it as well! So, please file this review under the category of “better late than never!”

I recently learned that in late 2020, Kino Lorber reissued for the first time on Blu-ray Disc, a classic unintentionally underground film which was made in the early 1980s: Get Crazy. This fun movie which falls somewhere in the grand spaces between Spinal Tap and Airplane for numerous reasons never quite saw the light of day even on DVD. 

I have learned since getting this fine new reissue that it barely got released at all!  This is kind of amazing because Get Crazy was produced by the man who directed one of the iconic comedy films of the punk / new wave era –– Rock ‘n’ Roll High School – Allan Arkush (Fame, Caddyshack II, Moonlighting, Crossing Jordan, etc.)

Get Crazy Director Allan Arkush

I first discovered Get Crazy in a somewhat backwards way, when I first came across the soundtrack album at a used record shop in New York City back in the 1980s. (side note: I’m pretty sure I got it at Sounds Records, for those of you who remember that legendary shop down on Saint Marks Place )

Some years later, I found a VHS copy of the film, which became a quick favorite of mine, given just how ridiculous and wonderful it all was! 

Get Crazy stars some incredible (an unexpected) actors and musicians working side by side including: Malcolm McDowell (Clockwork Orange, O’ Lucky Man, Caligula), Lou Reed (Velvet Underground), Howard Kaylan (The Turtles, Frank Zappa), John Densmore (The Doors) as well as ‘60s teen idols Fabian and Bobby Sherman (playing roles as evil henchmen!), Ed Begley Jr. (St. Elsewhere, Spinal Tap, An Officer & A Gentleman) , Daniel Stern (Home Alone, City Slickers, Diner, Milagro Beanfield War), Miles Chapin (Murder She Wrote, People Vs. Larry Flynt, Man On The Moon). There are many others. 

Lou Reed as “Auden”

So why did this wonderful madcap film get lost in the sauce? Well, it turns out from the bonus materials on this new Kino Lorber edition that the film effectively got caught up in a scenario akin to the classic Mel Brooks film The Producers (and if you don’t know that movie or the later musical, well you need to go watch it soon). The “After Party” documentary traces the origins of the film — including many of the actors and crew, in a Covid-era Zoom-styled production — explaining that the film was not only barely released theatrically but was put out on VHS in shoddy form. Get Crazy came and went without much notice. And then the original film and negatives were lost for decades despite ongoing searches until sleuths at Kino Lorber found it! 

Allen Goorwitz (aka Garfield) as the Bill Graham-inspired promoter

It is quite tragic that a film made with this much love at its heart got such poor treatment, but at least Get Crazy is getting a second chance in the 21st Century looking and sounding better than ever. 

The semi autobiographical script began as a tribute to director Allan Arkush’s experiences working at Bill Graham’s Fillmore East in its 1968-1971 heyday. But, due to the machinations of the film production universe, Get Crazy ended up staged in the 80s punk and new wave era (with plenty of nods to vintage rock and blues before it). This is very much a love letter to the rock and roll universe — from the fandom and on- and off-stage concert mayhem, to the pure mad bravado and non-stop visual punning in most every scene. Yet, the film also remains remarkably poignant and heartfelt. 

The Kino Lorber website, this paragraph sums it up pretty well:

“From Allan Arkush, the acclaimed director of the cult classics Hollywood Boulevard, Rock ‘n’ Roll High School and Heartbeeps, comes this raucous musical comedy that invites you to get crazy… and say goodbye to your brain! Its December 31, 1982, and Saturn Theater owner Max Wolfe is attempting to stage the biggest rock and roll concert of all time. But things aren’t going right. His doctor tells him he might have a fatal disease; his nephew and his arch-rival are in cahoots; a crazed fire inspector is spraying the audience with foam; and someone is trying to kill him and blow up the theater. Of course, these are secondary problems compared to those posed by the crazy rock and roll performers themselves. The gags come fast and furious from the truly insane cast that includes Allen Garfield, Daniel Stern, Gail Edwards, Miles Chapin, Ed Begley Jr., Stacey Nelkin, Bill Henderson, Lou Reed, Howard Kaylan, Lori Eastside, Lee Ving, John Densmore, Robert Picardo, Bobby Sherman, Paul Bartel, Mary Woronov, Clint Howard, Linnea Quigley, Dick Miller and the great Malcolm McDowell as debauched rock star Reggie Wanker.”

Malcolm McDowell as Reggie Wanker

The new Blu-ray release looks fantastic as Kino Lorber found the original negative and thus Get Crazy is presented in a brand new 2K master which was approved by Director Allan Arkush.

Back to the “love letter” I mentioned earlier, if you are a deep music fan you will pick up on many jokes and iconic touchstones embedded within Get Crazy.  

One of my favorite scenes is the first appearance of Lou Reed who plays the role of a Dylan-esque character named — quite humorously — Auden (another great poet, for those not in the know). When we first see Auden appear in the film, the set is designed to look like Bob Dylan’s iconic 1965 album, Bringing It All Back Home, right down to the woman in the red dress remaining absolutely still. Instead of the blurry fisheye lens the whole room is covered in spiderwebs (because the character is supposed to have been dead and nobody had seen him for year). It’s really quite brilliant when you stop to think about it.

There are all sorts of irreverent (and perhaps politically incorrect at times these days) period references, but it’s all done in a very tongue-in-cheek manner with a loving heart that works.

One of the most incredible performances happens with a band that was brought in for the show that I had never heard of, which was an assemblage by someone called Nada fronted by Lori Eastside (from King Creole & The Coconuts), which had something like 15 members on stage, playing new wave, power pop ala The Go Go’s and The Bangles. Iconic punk rock singer Lee Ving – – of Fear – steals many scenes in his off-the-hook role as “Piggy” (including some amazing stage driving scenes!)

Malcolm McDowell pulls off a bravado performance as Reggie Wanker — an aging rock star modeled after Mick Jagger and Rod Stewart. Don’t forget to watch for the incredible drum solo by John Densmore of The Doors, who are at one point switches out his drumsticks for some turkey legs (which he of course eats along the way!). Again stupid mad, fun.

If this all sounds outrageous, and ridiculous, it is! And that’s part of the joy of Get Crazy.  

The Doors’ John Densmore and matched Turkey leg drumsticks

Get Crazy looks great in its new 2K transfer and 1080p Blu-ray Disc presentation.  The stereo soundtrack is presented in DTS-HD Master Audio and is perfectly fine for this type of film. And there are some nice bonus materials including the aforementioned “After Party” documentary, trailers, a new music video (featuring Sparks!) and much more.  

My only “nit” to pick is that no booklet was included in the package to tell the back story of the film in print form. But again, fortunately there is that heartwarming “After Party” documentary which connects all the dots for us visually and aurally. Again, it is amazing that this Blu-ray Disc exists at all!

My only genuine disappointment was that there was not a bonus track included of Lou Reed’s performance of the song “Little Sister” on its own without the rolling, closing credits, going over him. I understand why this song was put at the end of the film as it was but still, it would’ve been nice to have had a clean version without all the credits. This song is one of Lou Reed’s finest of his latter day renaissance period.  

Howard Kaylan as Captain Cloud

Maybe someday they’ll find the original production elements and can include it in a a super Deluxe Edition — when and if Get Crazy becomes a wildly popular film again… for the first time!

At least for now Get Crazy is preserved and available for a new generation to discover. I hope that they will re-issue the soundtrack album, perhaps for Record Store Day because it’s a super fun collection including a punchy title tune by Sparks (who are arguably more popular now than they were back then) and, apart from the early 1990s boxed set Lou Reed anthology called Between Thought And Expression, the only place where this song resides. 

If you click on the title of Get Crazy anywhere in this review, it will take you to Amazon where you can purchase the film on Blu-ray.  

If you love rock ‘n’ roll, the music world of the 1960s through the 1980s, and madcap comedy films such as Airplane then Get Crazy may be your magic elixir of freewheeling fun.  Do check it out.

Following are some clips from the film as found on YouTube. 

New Brian Eno Dolby Atmos 5.1 Surround Sound Blu-ray FOREVERANDEVERNOMORE Offers Rich Immersive Listening Experience

It took me a bit to get my head around the new Brian Eno recording, FOREVERANDEVERNOMORE. Once I understood it’s intent, I was able to allow myself to follow this legendary artist on the deep musical journey contained within.

For those not familiar with his music, Eno is one of the pioneers of what we now commonly refer to as “ambient music.” He is also a leading light in experimental musics including with collaborators as diverse as King Crimson’s Robert Fripp, Harold Budd, Jon Hassell and The Velvet Underground’s John Cale. Eno also has a great legacy of his own having come out of Britain’s legendary glam rock band Roxy Music. After leaving the group, he created four particularly inspired rock oriented recordings in mid 1970s before mostly directing his career towards ambient soundscapes, soundtracks and audio-visual installations around the world. 

While FOREVERANDEVERNOMORE is available on vinyl as well as streaming, it is also available as a surround sound experience which will be the focus of this review.  Mixed into the new Dolby Atmos format and available only on Blu-ray Disc, the album delivers a rich immersion which can take the listener even more into Eno’s mindset than the Stereo mix.

The music on this new Eno record is beautiful but admittedly a bit heavy as it is warning people about what is happening on our planet and its likely effects on mankind.  

His website explains: “It’s a sonically beguiling, ultimately optimistic exploration of the narrowing, precarious future of humanity and our planet. As Eno himself concludes, “Briefly, we need to fall in love again, but this time with Nature, with Civilisation and with our hopes for the future.” 

While it isn’t all doom and gloom, FOREVERANDEVERNOMORE isn’t the dreamy, optimal bliss he explored long ago on tracks like “On Some Faraway Beach” from his solo debut Here Come The Warm Jets (“Given the chance I’ll die like a baby on some far away beach, when the season’s over….”).  A beautiful track like “These Small Noises” offers a harsher endgame vision (“Go to Earth, our hair on fire, go to Hell, in Hell to burn).

I think you get the idea… this isn’t easy, but many things that are good are worth working to appreciate. 

The mix on FOREVERANDEVERNOMORE is gently immersive yet very effective, delivering music and sound effects from all the surround channels and fields.  One of the challenges of mixing for Dolby Atmos is that it is a format originally (primarily?) designed for movies in theaters, not necessarily music. So an artist has to really consider what they want to do with those additional channels to make a compelling, notably the new “height” channels. 

I have heard some remixes of older music into Dolby Atmos and most have been quite disappointing as the producers simply added a bunch of artificial reverb, not really thinking about the experience as a three dimensional space where discrete information can be delivered to the listener. 

On Eno’s FOREVERANDEVERNOMORE in Dolby Atmos you’ll hear distinct detailing coming from each of the speakers at different points. Whether it’s a chime or the chang-like sound of an exotic bell, or some other kind of sparkly percussive instrument, all of these combine to create a beautiful, rewarding listening experience. At points you’ll feel like you are sitting in the out of doors, perhaps in or near a forest, with birds tweeting and other sounds of nature around you.  

The Super Deluxe Edition website offered some useful additional insight into Eno’s creative process in making this new Dolby Atmos listening experience. Engineer Emre Ramazanoglu reported: “It was fascinating approaching this Atmos mix with Brian in the room. He approached the mix in an extremely unorthodox fashion, removing the concept of a ‘front’ in the mix stage. It’s a fully immersive experience unlike others I have mixed. The song was still kept at the heart of the Atmos transformation though and he paid enormous attention to the position of each element and how that supported the piece as a whole. There will be also be differences from the stereo mix other than the spatial reimagining, due to the creative process that involved certain elements being subtly different from the original stereo masters.”

In many ways surround sound is the ideal way to hear FOREVERANDEVERNOMORE because it’s all ultimately about nature and man’s relationship to it.  As I said earlier this album is a little bit heavy so don’t go into this expected to hear purely soothing music. Eno sings on most of the tracks on here his voice is rich and compelling. Lyrically some of the songs may deliver a gut punch but that is the point. Ultimately, FOREVERANDEVERNOMORE is a wake up call. Listen with open ears and open mind.

Brian Eno’s FOREVERANDEVERNOMORE in surround sound was only available for a limited time from the Super Deluxe Edition website, which is where I ordered my copy from. It is sold out at this point but if there is demand perhaps there will be another pressing run. It’s well worth getting if you have a Dolby Atmos set up and are into Eno’s music.

Frank Zappa’s 1972 Jazz Rock Masterpieces The Grand Wazoo & Waka/Jawaka Featured In New Boxed Set, Waka/Wazoo. Part 2, The Live & Studio Sessions

In part one of my review of the fabulous new Frank Zappa five disc boxed set called Waka/Wazoo we explored the fantastic Dolby Atmos Blu-ray surround sound recordings included there. In case you missed Part One, please click here to catch up.  In this second part of my listening report I hope to highlight some of the truly nifty studio and live recordings included on the rest of the the collection.

For those of you reading this not familiar with this music, a paragraph from the official press materials from the Zappa estate may help to shed necessary light on the amazing music in this set:

“In 1972, following the aftermath of being pushed off stage at the Rainbow Theatre in London by a crazed attendee, Frank Zappa found himself recuperating for months in his home in the hills of Los Angeles. Although he was confined to a wheelchair and in immense pain, his work ethic could not be tamed, and he would end up having one of the most prolific years of his hugely prolific career. During this time, he managed, among other things, to assemble an ensemble that quenched his thirst and desire to work with a large “Electric Orchestra.” Ultimately, he contracted a 20-piece group for recording sessions and an eight-city tour. Shortly thereafter, a scaled down 10-piece configuration, now popularly known as the “Petite Wazoo” toured for almost two months. After all was said and done, Zappa finished the experiment with two albums in the can – Waka/Jawaka and The Grand Wazoo – plus two tours and an archive of show masters in his Vault. It was a monumental feat for a guy with a cast on his leg and a conductor’s baton in his hand.”

If you are a casual Zappa fan reading this review and wondering where this music fits in the big scheme of things, here is some easy to understand perspective: if you own and enjoyed Zappa’s landmark and immensely popular mostly instrumental jazz-rock fusion album called Hot Rats and have always wondered if there was more of this kind of music from Frank available,  then Waka/Jawaka and The Grand Wazoo should be your next Zappa albums to explore.  

Personally, these albums are among my all time favorite Zappa recordings. 

For us deeper Zappa fans, a collection like this is welcome and oft-dreamt-about joy as it not only delivers live recordings from this period  — which a whole lot of us never got to see/hear — but also breaks out rarities from the studio archives which went into the making of the final albums. 

For me, it is precisely that wealth of studio outtakes, alternate mixes and works in progress showing the development of this music from its earliest stages which makes Waka/Wazoo essential listening. 

It is fascinating being the fly-on-the-wall and hearing songs like the bluesy “Your Mouth” in first take form. There, the two vocalists have not quite jelled their performance into the tight blend of the final mix, but it they still have that immediately identifiable sound that is part of that song’s signature.

It is quite amazing to hear the evolution of songs like the title track of The Grand Wazoo album, where we get to hear the early incarnation outtake version titled “Think It Over” which reveals that this tune originally had lyrics sung over it (or at least initial ideas for lyrics on parts of the work)!  

Fans of Zappa keyboardist and singer George Duke will be excited to hear a batch of unreleased recordings made around the same time as these sessions featuring Zappa on guitar. One of the most notable moments in these sessions is an instrumental version of the song “Uncle Remus” which Zappa clearly liked so much that he added lyrics to it and it became a key song on the Apostrophe album couple of years later. But here on Waka/Wazoo we hear that George Duke had the song pretty much fully shaped and thus it would be relatively easy for Zappa to shape it into a full song for his album by adding lyrics and embellishments to Duke’s melody lines.

Speaking of early versions, one of the surprises from the live recordings of the 10-piece “Petite Wazoo” band is that they don’t really do any of the material on Waka/Jawaka or The Grand Wazoo! Instead, the fans in San Francisco attending that concert at the legendary Winterland Ballroom (December 15, 1972) were treated to mostly even newer material Zappa was already working out! 

Included is a great version of “Montana” which would show up on 1973’s Over-Nite Sensation album and a great rockin’ take on “Cosmik Debris” which ended up on the Apostrophe album in 1974. We also get then-unreleased pieces like “Little Dots” and “Farther O’Blivion” (which is a very different piece of music to the like-named “Father O’Blivion” on the Apostrophe album). The set ends with a fine Petite Wazoo impression of “Chunga’s Revenge” (title track from the 1970 Zappa solo album).

Waka/Wazoo comes to you wrapped in a sturdy compact clamshell type box, which no doubt keeps the overhead costs to a minimum allowing them to sell this set for a very reasonable price. 

You can find it for about $60 on Amazon (click on the Waka/Wazoo title anywhere in this review for that) which feels very fair for four jam packed CDs of high quality music and the stellar Blu-ray Disc which gives you both original albums — again, Waka/Jawaka and The Grand Wazoo — mixed into spectacular surround sound and in high resolution 96kHz 24-bit PCM Stereo. You also get a neat little booklet with background information and photos from the period.

Probably the only thing that is weird to me is that Waka/Wazoo doesn’t include any of the original cover artwork of the original albums printed on the physical packaging. We do, however, get to see the original album covers which appear on your TV or computer when navigating the Blu-ray Disc (shown here above and below this paragraph). 

You can also find Waka/Wazoo streaming on the better services in high resolution audio including Qobuz Hi Res (click here), Tidal MQA (click here) and Apple Music Lossless (click here). 

Waka/Wazoo is a great collection. If you love Zappa’s mostly instrumental jazz-rock fusion music, you really should listen. 

Frank Zappa’s 1972 Jazz Rock Masterpieces, The Grand Wazoo & Waka/Jawaka Come Alive In Multi-Channel Dolby Atmos Surround Sound Blu-ray Featured In New Boxed Set, Waka/Wazoo

I’ll be honest folks, I’m more than a little bit giddy right now…

I am not sure if I am more excited about the facts that two of my favorite Frank Zappa albums have not only been given the 21st Century remastering treatment (including all analog vinyl mastered by Bernie Grundman!) … Or that the Zappa estate is opening up their archives further for a deep dive into studio outtakes and alternates that most of us have not heard… Or, that the producers took the time to mix both of these albums into surround sound… 

Or, am I simply more excited that they took the time to mix it into really great sounding surround sound?

I think that latter point is where I’ll start!  

The new Dolby Atmos and Dolby TrueHD 5.1 versions of The Grand Wazoo and Waka/Jawaka are easily the most exciting surround sound mixes I’ve heard in quite some time. These are among the first Dolby Atmos mixes made for home listening which I’ve genuinely enjoyed outside of Stephen Wilson’s more recent works, particularly on his solo albums. 

These mixes are included in the four CD plus Blu-ray Disc boxed set called Waka/Wazoo, out now from Zappa Records and Universal Music.  

On these new surround sound mixes, I think the producers have struck a nice balance between honoring the music, evoking Frank’s adventuresome creative spirit had he been around to supervise this mix all while crafting an engaging listening experience which most everyone should be able to enjoy. 

Both of these mixes keep relatively true to the basic sound of the original albums — they are not overly brightened to sound contemporary. Yet, the producers were not afraid to fully embrace the 7.1 channel surround sound spaces with discrete information that delivers a compelling listening experience.

I recently upgraded my living room home theater system so I could experience Dolby Atmos music, particularly on Blu-ray Discs (which I play over my Oppo UDP-203 universal disc player). Prior to this I’ve certainly heard some very compelling Atmos movie mixes in the theaters and even one for the one off demo of The Beatles’ Sergeant Pepper in a movie theater. But in general, most of the Dolby Atmos mixes that I’ve heard, at least for those made from vintage archival recordings from the past, have been underwhelming. Most of the mixes I’ve heard (on some pretty major releases from some big name bands) have played it “safe” to the point of being uninspiring and ultimately not worth listening to. Most of those mixes tend to use the surround and height channels for room ambience. It is even more discouraging when the regular 5.1 surround and Stereo mixes on the same disc are more exciting and engaging.

Well, hopefully we can say that this is one of those “that was then, this is now” scenarios…

From the official Frank Zappa website we learn: “The Waka/Jawaka and The Grand Wazoo albums themselves will be presented on Blu-Ray Audio disc in a variety of exciting listening experiences: brand-new first-time-ever immersive Dolby Atmos and Dolby Digital True HD 5.1 surround sound mixes mixed from the original multi-tracks by Erich Gobel and Karma Auger at Studio 1LA and 96kHz 24-bit high-resolution stereo remasters mastered by Doug Sax with Robert Hadley and Sangwook “Sunny” Nam at The Mastering Lab in 2012. Both albums will also be available for hi-res streaming.” 

Navigation screen from the quAUDIOPHILIAc DVD Audio Disc release

One of the first things I did when I got my copy of Waka/Wazoo in hand was to break out my DVD Audio disc of Frank Zappa’s 2004 release called quAUDIOPHILIAc. This fantastic but sadly short-lived release — featuring recordings of Zappa in surround sound — included some early quadraphonic experiments Zappa made even before playback options were a mass market reality for consumers. One of my favorite tracks on that album is the early quad mix of the song “Waka/Jawaka,” a wonderful listening experience where you get to take a ride with Frank at the controls as he takes some wild chances on his sound design. At one point guitars from opposing angles intersect in the surround fields as if they were doing battle with one another.  It’s a very exciting and engaging mix, actually!

On these new surround sound mixes for Waka/Wazoo, engineers Erich Gobel and Karma Auger don’t quite re-create that but they do aspire to their own adventuresome spirit which I suspect Frank would appreciate. They do keep the basic rhythm section focused mostly on the upfront channels but at times it feels as if you are in the middle of the drum kit — or perhaps sitting on the drummer’s throne! It sort of envelopes in you at times, yet not in an overwhelming manner.  I found it at minimum very enticing and at times quite exhilarating.

Keyboards and sound effects tend to percolate from the rear and sides of the surround fields, sometimes even washing over you front to back. Vocals tend to come from up front while harmonies can sometimes come from the back. Again, they’re not afraid to take some creative chances here. 

Interestingly the mixes were done at 48 kHz, 24 bit but they sound really nice and particularly quite warm which is essential from my perspective.  These are albums featuring lots of horns and jazz flavors, so that is part of the vibe of the original recordings which Zappa captured back in 1972. 

Following are some of my first reflections on fun details I heard while listening to each of the albums, mostly in Dolby Atmos. Please note that these are first impressions and I reserve the right to alter/update my perspective upon subsequent listens (as I ask myself: “Did I really hear what I thought I heard?”). 

Navigation screen for The Grand Wazoo on the Waka/Wazoo Blu-ray Disc

Also, an important note of warning as you start to explore this disc: the 96 kHz, 24-bit Stereo (original album) mix is set significantly louder than the surround mixes. So if you are switching in real time between the different options (as I frequently do), be sure to lower your volume settings accordingly before switching to it!  That is a disc mastering issue which probably should be fixed for subsequent pressings. 

The Grand Wazoo

The first thing I noticed was that the height channels are used very effectively not just to deliver room ambiance but the scale of the instruments. Suddenly, the drums are filling a more three dimensional space, with cymbal parts seemingly coming from higher (where they would be in a live situation if you were on stage or in the studio with the band) vs. just coming out of the speakers with everything else.  

As I mentioned earlier, at times it feels that the drum kit is almost filling the room, as if you might be sitting on the drummer’s throne. Listen closely during “Cleetus Awreetus-Awrightus” for Zappa’s mad overdriven guitar parts jumping out from under the horn, which were formerly blended so well into the mix that they were almost a buried sonic texture. I’m glad they brought out that detail because, well, it is frankly super badass! Its all neat how the “tack” piano solo sort of emerges mid-room.  On “Eat That Question,” keep alert for Frank’s repeated string bending moment during his solo which kind of echos, bouncing front to rear, in time with the music. 

Navigation screen for Waka/Jawaka on the Waka/Wazoo Blu-ray Disc

“Blessed Relief” is especially gorgeous, bathing you in a lush wash of Fender Rhodes style keyboards and horns. Listening to this song in surround sound, I am realizing that this beautiful composition is about as close as Frank Zappa ever got writing a melody that had that Burt Bacharach kind of flavor — I could hear Herb Alpert covering this (and I mean that as a compliment).

Waka/Jawaka

While perhaps not quite as flirtatious as The Grand Wazoo mix, Waka/Jawaka in surround sound is still a quite active listening experience, from a trumpet solo part which travels around the room, to keyboards padding out from behind you. Once again, the cymbals and drums in general sound uncannily realistic. There are some neat flute-horn combination parts popping up at times which are more audible, formerly buried in the Stereo mix, again as more of a texture. 

I could go on and may update this at some point with other observations. But in general I am very impressed with these mixes and — for me at least — it makes owning this set an essential if you are a fan of Zappa and surround sound.

In 1968, Frank Zappa ran an ad in Marvel comic books promoting his then new release We’re Only In It For The Money. In that ad were some semi-sarcastic-but-not-sarcastic tagline-type words, reminiscent of the kinds of ads run in supermarkets or perhaps a car dealership!  That copy read (roughly in this order depending upon how you read the ad: “Thrilling, clean fun!  Cleans you! Thrills you! Cleans & Thrills you! Expensive! Fun!” 

I think most of that ad copy applies to this new Waka/Wazoo boxed set save for the word “expensive.”  With it selling for about $60 on Amazon, this feels like a bargain for music of this caliber and with it including such a great surround sound mix. You’d pay almost as much for many fancy single disc Pure Audio type releases on Blu-ray or a Criterion movie.

I’ll post my review of the CD portion of the set — the outtakes and live recordings — next week so please stay tuned. But if you are into surround sound and Zappa and want to have a fun holiday gift for yourself (or the Zappa fan in your life) you might want to jump on getting a copy of this sooner than later. 

Frank Zappa’s 1972 Jazz Rock Masterpieces, The Grand Wazoo & Waka/Jawaka Come Alive In Multi-Channel Dolby Atmos Surround Sound Blu-ray Featured In New Boxed Set, Waka/Wazoo

I’ll be honest folks, I’m more than a little bit giddy right now…

I am not sure if I am more excited about the facts that two of my favorite Frank Zappa albums have not only been given the 21st Century remastering treatment (including all analog vinyl mastered by Bernie Grundman!) … Or that the Zappa estate is opening up their archives further for a deep dive into studio outtakes and alternates that most of us have not heard… Or, that the producers took the time to mix both of these albums into surround sound… 

Or, am I simply more excited that they took the time to mix it into really great sounding surround sound?

I think that latter point is where I’ll start!  

The new Dolby Atmos and Dolby TrueHD 5.1 versions of The Grand Wazoo and Waka/Jawaka are easily the most exciting surround sound mixes I’ve heard in quite some time. These are among the first Dolby Atmos mixes made for home listening which I’ve genuinely enjoyed outside of Stephen Wilson’s more recent works, particularly on his solo albums. 

These mixes are included in the four CD plus Blu-ray Disc boxed set called Waka/Wazoo, out now from Zappa Records and Universal Music.  

On these new surround sound mixes, I think the producers have struck a nice balance between honoring the music, evoking Frank’s adventuresome creative spirit had he been around to supervise this mix all while crafting an engaging listening experience which most everyone should be able to enjoy. 

Both of these mixes keep relatively true to the basic sound of the original albums — they are not overly brightened to sound contemporary. Yet, the producers were not afraid to fully embrace the 7.1 channel surround sound spaces with discrete information that delivers a compelling listening experience.

I recently upgraded my living room home theater system so I could experience Dolby Atmos music, particularly on Blu-ray Discs (which I play over my Oppo UDP-203 universal disc player). Prior to this I’ve certainly heard some very compelling Atmos movie mixes in the theaters and even one for the one off demo of The Beatles’ Sergeant Pepper in a movie theater. But in general, most of the Dolby Atmos mixes that I’ve heard, at least for those made from vintage archival recordings from the past, have been underwhelming. Most of the mixes I’ve heard (on some pretty major releases from some big name bands) have played it “safe” to the point of being uninspiring and ultimately not worth listening to. Most of those mixes tend to use the surround and height channels for room ambience. It is even more discouraging when the regular 5.1 surround and Stereo mixes on the same disc are more exciting and engaging.

Well, hopefully we can say that this is one of those “that was then, this is now” scenarios…

From the official Frank Zappa website we learn: “The Waka/Jawaka and The Grand Wazoo albums themselves will be presented on Blu-Ray Audio disc in a variety of exciting listening experiences: brand-new first-time-ever immersive Dolby Atmos and Dolby Digital True HD 5.1 surround sound mixes mixed from the original multi-tracks by Erich Gobel and Karma Auger at Studio 1LA and 96kHz 24-bit high-resolution stereo remasters mastered by Doug Sax with Robert Hadley and Sangwook “Sunny” Nam at The Mastering Lab in 2012. Both albums will also be available for hi-res streaming.” 

Navigation screen from the quAUDIOPHILIAc DVD Audio Disc release

One of the first things I did when I got my copy of Waka/Wazoo in hand was to break out my DVD Audio disc of Frank Zappa’s 2004 release called quAUDIOPHILIAc. This fantastic but sadly short-lived release — featuring recordings of Zappa in surround sound — included some early quadraphonic experiments Zappa made even before playback options were a mass market reality for consumers. One of my favorite tracks on that album is the early quad mix of the song “Waka/Jawaka,” a wonderful listening experience where you get to take a ride with Frank at the controls as he takes some wild chances on his sound design. At one point guitars from opposing angles intersect in the surround fields as if they were doing battle with one another.  It’s a very exciting and engaging mix, actually!

On these new surround sound mixes for Waka/Wazoo, engineers Erich Gobel and Karma Auger don’t quite re-create that but they do aspire to their own adventuresome spirit which I suspect Frank would appreciate. They do keep the basic rhythm section focused mostly on the upfront channels but at times it feels as if you are in the middle of the drum kit — or perhaps sitting on the drummer’s throne! It sort of envelopes in you at times, yet not in an overwhelming manner.  I found it at minimum very enticing and at times quite exhilarating.

Keyboards and sound effects tend to percolate from the rear and sides of the surround fields, sometimes even washing over you front to back. Vocals tend to come from up front while harmonies can sometimes come from the back. Again, they’re not afraid to take some creative chances here. 

Interestingly the mixes were done at 48 kHz, 24 bit but they sound really nice and particularly quite warm which is essential from my perspective.  These are albums featuring lots of horns and jazz flavors, so that is part of the vibe of the original recordings which Zappa captured back in 1972. 

Following are some of my first reflections on fun details I heard while listening to each of the albums, mostly in Dolby Atmos. Please note that these are first impressions and I reserve the right to alter/update my perspective upon subsequent listens (as I ask myself: “Did I really hear what I thought I heard?”). 

Navigation screen for The Grand Wazoo on the Waka/Wazoo Blu-ray Disc

Also, an important note of warning as you start to explore this disc: the 96 kHz, 24-bit Stereo (original album) mix is set significantly louder than the surround mixes. So if you are switching in real time between the different options (as I frequently do), be sure to lower your volume settings accordingly before switching to it!  That is a disc mastering issue which probably should be fixed for subsequent pressings. 

The Grand Wazoo

The first thing I noticed was that the height channels are used very effectively not just to deliver room ambiance but the scale of the instruments. Suddenly, the drums are filling a more three dimensional space, with cymbal parts seemingly coming from higher (where they would be in a live situation if you were on stage or in the studio with the band) vs. just coming out of the speakers with everything else.  

As I mentioned earlier, at times it feels that the drum kit is almost filling the room, as if you might be sitting on the drummer’s throne. Listen closely during “Cleetus Awreetus-Awrightus” for Zappa’s mad overdriven guitar parts jumping out from under the horn, which were formerly blended so well into the mix that they were almost a buried sonic texture. I’m glad they brought out that detail because, well, it is frankly super badass! Its all neat how the “tack” piano solo sort of emerges mid-room.  On “Eat That Question,” keep alert for Frank’s repeated string bending moment during his solo which kind of echos, bouncing front to rear, in time with the music. 

Navigation screen for Waka/Jawaka on the Waka/Wazoo Blu-ray Disc

“Blessed Relief” is especially gorgeous, bathing you in a lush wash of Fender Rhodes style keyboards and horns. Listening to this song in surround sound, I am realizing that this beautiful composition is about as close as Frank Zappa ever got writing a melody that had that Burt Bacharach kind of flavor — I could hear Herb Alpert covering this (and I mean that as a compliment).

Waka/Jawaka

While perhaps not quite as flirtatious as The Grand Wazoo mix, Waka/Jawaka in surround sound is still a quite active listening experience, from a trumpet solo part which travels around the room, to keyboards padding out from behind you. Once again, the cymbals and drums in general sound uncannily realistic. There are some neat flute-horn combination parts popping up at times which are more audible, formerly buried in the Stereo mix, again as more of a texture. 

I could go on and may update this at some point with other observations. But in general I am very impressed with these mixes and — for me at least — it makes owning this set an essential if you are a fan of Zappa and surround sound.

In 1968, Frank Zappa ran an ad in Marvel comic books promoting his then new release We’re Only In It For The Money. In that ad were some semi-sarcastic-but-not-sarcastic tagline-type words, reminiscent of the kinds of ads run in supermarkets or perhaps a car dealership!  That copy read (roughly in this order depending upon how you read the ad: “Thrilling, clean fun!  Cleans you! Thrills you! Cleans & Thrills you! Expensive! Fun!” 

I think most of that ad copy applies to this new Waka/Wazoo boxed set save for the word “expensive.”  With it selling for about $60 on Amazon, this feels like a bargain for music of this caliber and with it including such a great surround sound mix. You’d pay almost as much for many fancy single disc Pure Audio type releases on Blu-ray or a Criterion movie.

I’ll post my review of the CD portion of the set — the outtakes and live recordings — next week so please stay tuned. But if you are into surround sound and Zappa and want to have a fun holiday gift for yourself (or the Zappa fan in your life) you might want to jump on getting a copy of this sooner than later. 

Listening Report: Vince Guaraldi’s A Charlie Brown Christmas Super Deluxe Edition Boxed Set Including Dolby Atmos Surround Sound & High Resolution Stereo Remixes

If you are a fan of Vince Guaraldi and his legendary soundtrack to the classic Peanuts TV special A Charlie Brown Christmas you owe it to yourself to get the Blu-ray edition Deluxe Edition of this set. It features a lovely brand new Stereo mix created from the multi-channel master recordings and mixed down to 192 kHz, 24-bit high resolution digital. The new mix retains the heart and soul of what this best selling — 5x Platinum, right up there with Miles’ Kind Of Blue! — album was always about, but delivers more air and presence around the instruments and an overall greater sense of detailing.

To put my appreciation for this new edition to the test, I have compared it to my beloved SACD of the original mix. That disc has long been my go to version of this holiday classic for many years given the lackluster vinyl pressings that have been issued over the years. (More on that later… *).

The benefit of doing a new remix from the original two- and three- channel multi-track tapes is obvious if you stop to think about it: since it is a digital mix, now we get to hear all the recorded parts in first generation quality, not mixed down to another analog generation where there is some loss of fidelity. The difference is palpable. 

Also, because this is being mixed for higher resolution media (and modern turntables for the vinyl version) there is less need for the compression constraints which may have been necessary for the vinyl pressings of 1965 and into the 1970s.

This new mix of A Charlie Brown Christmas playing from the 192/24 Stereo version on Blu-ray Disc is thus more open and alive sounding than the original mix I heard even on my SACD of the album. The new mix is really quite wonderful. 

I know what I’m about to write is a cliché, but it does sound like you’re closer to being in the studio with the band! 

The drums feel more present, especially the cymbals. Vince Guaraldi’s piano sounds much more alive and open. To my ear, the latter always sounded a little bit on the boxy side at times; perhaps frequencies were reined a bit so as to not challenge the grooves of the average record players back in the day — if the vinyl grooves were too dynamic, many record players would skip and there would have been lots of returns at retail (which would have been a bad thing).

In case you are wondering, I am going to keep my SACD because I want to be able to hear that original mix as it was prepared in the 1960s in the best possible fidelity. It does have a certain charm to it with all its bits of hiss and likely additional compression and such.

But now, even Guaraldi’s charming child-like take on Beethoven’s “Für Elise” is a wonder to hear via the Blu-ray Disc version. On the SACD there is a lot of tape hiss present on that track but on the new version it appears remarkably clear and clean. 

Of the three versions of the album included on the Blu-ray disc I preferred the 192 kHz, 24-bit Stereo incarnation the best. The 96 kHz, 24-bit version is quite good but in comparison you can hear that it takes down the fidelity a notch when you toggle between the different versions. 

Unfortunately, for me, the weakest performer of the three options on the disc is the 48 kHz Dolby Atmos mix which ultimately seemed inconsequential. On a basic fidelity level, comparatively, it sounded relatively dull — it might have been stronger if everything was presented at full resolution. Both the height channels and the rear surrounds seem to be simply filled out with reverb or some sort of surround sound approximation of the studio ambiance.  To be fair, as I understand, A Charlie Brown Christmas was recorded on a vintage early three-track recorder so the remix engineers no doubt had challenges / limitations with regards to what they might be able to do with a 7.1 channel Dolby Atmos mix while still retaining the overall feel and integrity of the original Stereo mix.  

Fortunately the 192 kHz, 24-bit high resolution Stereo version of the new mix of A Charlie Brown Christmas sounds so very good, I won’t really need to play the Atmos version again. 

The other big benefit of buying this super deluxe boxed set edition of A Charlie Brown Christmas is that you get four CDs full of studio session outtakes and alternate versions which are a fascinating listen. An audio documentary of a sort, playing the session tracks in chronological order is compelling as over time you start to hear the performances you know and love take shape across a series of live-in-the-studio takes.

Also on the CD version you get the original stereo mix which is handy, enabling relatively easy comparison between the two versions of the album contained there (I do, however, wish they had also included a high resolution version of the original mix on the Blu-ray!). 

Bound in a lovely hardcover book, this super deluxe edition of A Charlie Brown Christmas is lovingly prepared with detailed liner notes, great photos and drawings of the Peanuts characters from the film. 

I was also impressed with the very sturdy cardboard pages provided for storing the discs and the way they lock in. This may seem to some like a waste of space, but I think it’s much nicer looking and more functional the traditional jewel-style trays. This feels more secure and protective of the discs. Somebody put a lot of thought into this package design!

So there you have it: if you love A Charlie Brown Christmas you really need to hear it on Blu-ray in 192 kHz 24 bit Stereo. This is a joy.

Wishing you all a very safe and happy holiday season ahead!

* PS: Look for my review of the new two LP vinyl edition of A Charlie Brown Christmas over on Analog Planet! 

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